Albums: Any album that was officially released during the calendar year of 2025 is eligible. Also, with the evolving nature as to what is considered a full album release in modern times (“full” records seem to span anywhere between 7 and 700 songs these days), I’m also considering extended-play releases as eligible. Neither compilation albums or today’s endless slew of reissues/deluxe editions of a previously released album are eligible.
50) Eric Church- Evangeline vs. the Machine (EMI)
Always eager to challenge both his devoted listener base, as well as the country music industry that failed early on in its attempts to harness him as just another bro, Eric Church pushes his artistic range to its limit on the progressively messy but overly beautiful Evangeline vs the Machine. Hearing him and and staple-producer Jay Joyce incorporate soulful shades of avant-garde and a full-orchestra into his country-rock palette may be a shock to the system for many fans, but long-time listeners shouldn’t really be surprised by anything Church plays with at this point. It ultimately suits the heavier weight of the material collected here, and its attempts to grapple with the dark societal times that dominate the headlines. But it also sounds fantastic melded into Church’s up-tempo rides through his signature, ramshackle rock of the country, Southern, and Heartland varieties. All in all, an intriguing record of both reckoning and rejuvenation.
My Top Three Tracks: “Hands of Time”, “Johnny”, “Evangeline”
49) Maren Morris- Dreamsicle (Columbia)
Dreamsicle was birthed during a tumultuous time of change for former country darling, Maren Morris, as she found herself simultaneously weathering both a marital divorce, and a professional one, as she declared her separation from the Nashville industry itself. These pivotal turning-points certainly informed a segment of the material found here, but more than anything her newfound liberation has given her the freedom to fully embrace the pop music leanings she’s always teetered towards. This record doesn’t necessarily gather her most impressive bouts of songwriting (of which she is damn good at), but it does contain some of her most fetching sonic concoctions. Defiant perseverance and funky kiss-offs are the premier ingredient in Morris’ Dreamsicle, as well as some of her most radiant singing to-date, with her vocal power beaming with newfound independence and assured identity. It’s more than likely the best pop record you didn’t hear this year.
My Top Three Tracks: “Lemonade”, “Bed No Breakfast”, “Push Me Over”
48) Kesha- Period (Kesha)
Within the first decade of her pop career, Kesha went from being the genre’s latest, seemingly disposable party-girl to one of its most creative and underrated artistic forces. Such a trajectory has naturally led to a variety of different album fenceposts in her discography, but she has certainly never released a record as rewardingly personal as Period. It serves as her first release on her own label, after sustaining years of creative interference from her record company, not to mention flat-out abuse from her former producer, Dr. Luke. All of these demons have been referenced on prior Kesha records, but this is the cathartic moment where she can let it all out, without any semblance of political bumpers. The fact that it serves as an album so well-balanced between reflection on her past pain, and the energetic pop fun that she launched with, speaks to what a true triumph it is for her artistically and personally.
My Top Three Tracks: “Freedom”, “Joyride”, “Cathedral”
47) Mavis Staples- Sad and Beautiful World (Anti)
It’s been a gift to have new music from Mavis Staples in any era, but with over seven decades of recording already under her belt and the world seemingly spinning off its axis more severely than any other moment in our lifetimes, it feels like a minor miracle to have received a new album from Staples in the year 2025. More than anything, it’s a reminder of two powerful life-truths: 1) the world has always been both sad and beautiful, and 2) the voice of Mavis Staples remains a vital and comforting compass through the world’s peaks and valleys. Across every moment of this album, she strikes the sterling balance that has always been central to her legacy: her ability to transcend her music above the world’s darkness, while also reminding the listener that she feels all of the world’s hurt and fear right alongside us. It may sound like just another day in the studio for a peerless legend like this one-time Civil Rights activist, but it makes the music’s impact no less powerful. May this record be your spiritual compass heading into 2026.
My Top Three Tracks: “Sad and Beautiful World”, “A Satisfied Mind”, “Everybody Needs Love”
46) The Avett Brothers & Mike Patton- AVTT/PTTN (Ramseur/Ipecac)
A bewildering left-field side-project from the Americana flag-bearers and the Faith No More vocalist that proves worthwhile of every bit of the initial whiplash. But truthfully, as disparate as both acts’ styles may be, the album does a rather seamless job in marrying both of their artistic and musical POVs. Ultimately, it’s an album that does indeed push all performers and their respective listening bases outside their comfort zones, but never too far to lose the centering of their own signature sound. As a result, AVTT/PTTN is rewarding in the sense that it fulfills the surprising rewards promised by its curiosity, but also never waivers from the integrity and identity that both Patton and the Avetts have each built their respective careers upon. These are the kind of adventurous collaborative albums and makeshift bands that used to be plentiful in rock’s golden years, and each time a project like this emerges, it’s a comforting reminder that the evolution of the industry hasn’t completely sanitized such unconventional pivots out of existence.
My Top Three Tracks: “Dark Night of My Soul”, “Eternal Love”, “Received”
45) Marcus King Band- Darling Blue (Republic)
Since breaking out on his own at the dawn of the 2020’s, and achieving a widespread critical breakthrough in rock, blues, and Americana circles, Marcus King has built a well-earned reputation as one of the current generation’s most reverent and forward-looking purveyors of vintage roots music. Darling Blue found King reuniting with his namesake band that served as the birthing vessel of his recording career, and honing in on the country and Southern Rock sectors of his musical origin story. It not only provides another rich showcase for his bluesy, powerhouse chops, but also gives the bountiful talents of his fellow musicians their highest profile showcase to date. It’s authentically earnest and passionate, as well as astutely executed, and immediately ascends King and his crew to the upper-echelon of the most thrilling country outfits to be found today.
My Top Three Tracks: “Honky Tonk Hell”, “Heartlands”, “Levi’s & Goodbyes”
44) Van Morrison- Remembering Now (Virgin)
How fitting it is that Van Morrison’s forty-seventh studio album opens with the exuberant and aptly-titled”Down to Joy”, because that is precisely what the now 80-year-old icon restores in his latter-day legacy with Remembering Now, an album generous in both quality and quantity. Morrison has always been one of popular music’s rarest and most treasured artists, and for him to sound this fantastic at this juncture in both his life and career is an equally rare gift for all of us. You could play this vibrantly jubilant and entertaining set against a record from his youthful prime, and find nary a change in the purity or power of Morrison’s vocals. But more so than that, he’s singing with such an inspired and contagious sense of vigor and sheer happiness. This renewed spirit in his performances will likewise renew his long-time fans’ passion for great, unadulterated singing and musicianship.
My Top Three Tracks: “Down to Joy”, “If It Wasn’t For Ray”, “Remembering Now”
43) Marty Stuart And His Fabulous Superlatives- Space Junk (Snakefarm)
One should never let Marty Stuart’s legacy as an archivist and staunch flag-bearer for traditional country music cast doubt on the diversity of his musical taste, knowledge, or impeccable musicianship. Like most musical champions of his caliber, Stuart’s appreciation for all forms of music is vast and uninhibited. This has never been more apparent than on Space Junk, the thrilling left-turn that finds him and his long-revered Fabulous Superlatives cutting loose on an all-instrumental, twenty-track record of electrifying surf-rock. The exquisite instrumental prowess and thrilling energy of this project takes me back to the wondrous trance I fell into as a 12-year-old boy when my dad first played me classic records by the likes of The Ventures and Dick Dale. Then, imagine my excitement when I likewise heard Junior Brown’s then-current “Surf Medley”, and realized that there were still folks making music like this. The same experience applied to listening to Space Junk in 2025. A fabulous stylistic swing, not only in the context of Stuart’s stunning records with the Superlatives, but also within his entire catalog, as well as the overall rock canon of today.
My Top Three Tracks: “All the Pretty Horses”, “Space Junk”, “California, Pt. 1 (Bobbie Gentry, Please Call Home)”
42) Ashley Monroe- Tennessee Lightning (Mountainrose Sparrow)
It’s difficult not to regard Tennessee Lightning as a new lease on life for Ashley Monroe, both musically and literally. After all, the album was crafted as she battled, and eventually defeated a rare form of blood cancer. The enormous level of confidence and rejuvenation that surely results from such a victory is entirely palpable throughout this return to her country and Americana roots, after a half-baked attempt at alt-pop on 2021’s Rosegold. Her plaintive country wail is as haunting as ever before, and sends the heft of her always-rich material to new heights of guttural wonder. The generous 17-track list offers up a bounty of collabs with the talented likes of T. Bone Burnett, Marty Stuart, Brendan Bensen, and Karen Fairchild, among others, while centerpieces like the bluesy “Magnolia” feels like the second-coming of the long-MIA Bobbie Gentry. It doesn’t quite reach the rarified heights of her blistering hat-trick of 2010s gems, but it comes damn close. The return of this revered talent is one of 2025’s true bright spots.
My Top Three Tracks: “The Touch” featuring Marty Stuart, “Magnolia”, “Hot Rod Pipe Dream”
41) Sunny Sweeney- Rhinestone Requiem (Thirty Tigers)
Honky-tonker Sunny Sweeney is one of those reliably steadfast artists where listeners know precisely what they want and expect from her, and she continuously delivers without deviation. And there is no deviation from that trend to be found on her sixth studio set, Rhinestone Requiem, which offers pure-bred, foot-stomping country tales of drinkin’, divorcin’, roamin’, and heartbreakin’. The musical and topical consistency should not be mistaken for boredom or a lack of ambition. Much like George Strait and other purists before her, Sweeney always keeps the proceedings as fresh and lively as they are vintage and reverent. Both her twang and her pen are as pistol-hot as they were on her debut nearly two decades ago, while sounding ever-vibrant against a backdrop of crunchy guitar, lush steel, and piercing fiddle. She remains as masterful and alluring in the art of classic honky-tonk as any other vocalist actively recording today.
My Top Three Tracks: “Traveling On”, “Houston Belongs to Me”, “Half Lit in 3/4 Time”
40) Hailey Whitters- Corn Queen (Big Loud)
With her third official LP, Hailey Whitters bestowed us with another musical chapter brimming with more of her signature country corn, camp and charm. However, through a cornerstone moment like “Casseroles”, the album also offers an abundance of heart, soul, and rich artistry. It takes a performer, lyricist, and artistic curator of extremely precise skill and high caliber to be able to balance all of this so seamlessly, and to keep all of these classic country tropes on the right side of the tracks. And through the generous sixteen tracks on Corn Queen, Whitters does just that, walking that mighty fine line that separates country music from the trite stereotypes used to excessively malign it, and from its rightful identity as one of the world’s most timelessly rewarding forms of entertainment.
My Top Three Tracks: “Hearsay”, “I Don’t Want You” featuring Charles Wesley Godwin, “Casseroles”
39) Patty Griffin- Crown of Roses (Thirty Tigers)
A bare-boned but prolifically powerful statement on life and love like only the great Patty Griffin could deliver in such a uniquely masterful manner. The spiritual center of this album is Griffin’s love and admiration for her mother, as well as the loss she felt upon her death. However, this theme also naturally branches off into excavations of other overarching topics like ending relationships, mortality, and the cruel beauty of life’s natural cycle. These are certainly not new subject matters in Griffin’s discography, but she’s never tackled them with such singularly raw intimacy before, and yes, that’s saying something. She’s singing here with a more hushed whisper, partially out of necessity by way of her aging vocal cords, but also because it so gorgeously suits the music. At times, it takes on a silky, soft-spoken jazz leaning croon. Elsewhere, it exposes the most aching elements of her legendary folk rasp. Combined with Craig Ross’ tastefully restrained but ever-powerful production, it results in one of Griffin’s most commanding soundscapes. A masterful body of work.
My Top Three Tracks: “The End”, “Way Up to the Sky”, “A Word”
38) Mumford & Sons- Rushmere (Island)
Rushmere proved to be a perfectly-timed album to reset Mumford & Sons’ creative trajectory. With new producer Dave Cobb at the helm, the band travels back to the more stripped, banjo & guitar-centric folk-rock sound that defined their first two records. Marcus Mumford’s gripping, graveled voice is as passionately striking as ever, and the band’s ability to craft the kind of emotional compositions and wrenching instrumentation that best suits Marcus’ vocal strengths is ever-sturdy and seamless. True, there are many things that Rushmere proved not to be. It is not the second coming of the 2010s’ folk-rock revival in the pop mainstream, or another effort to cater to a wider rock and alternative audience. It also was not some dramatic comeback or reinvention effort for the band. Nor was it ever intended to be any of these things. Instead, it’s a cozy yet ever-potent creative and emotional reset; a collection of 10 straight-forwardly M&S moments curated specifically for those of us that still identity as those straight-forward, long-time M&S loyalists.
My Top Three Tracks: “Rushmere”, “Where It Belongs”, “Carry On”
37) Neko Case- Neon Grey Midnight Green (Anti)
One of the year’s most joyously mysterious and rewarding musical moments, Neon Grey Midnight Green stayed on brand with virtually every other preceding Neko Case album: a bewildering showcase for an artist who, after three-plus decades, remains one of contemporary music’s most enigmatic talents. Time has only magnified the gorgeous range of her rare voice, the limitless power of her songwriting, and the richly adventurous–and at times, outright weird–stylistic inclinations of her musical vision. Topically informed by a sense of loss, the emotional resonance of her wondrous singing and unfiltered lyricism provide some of the most powerful moments in her eccentric, expansive catalog. Also serving as her first wholly self-produced album, the record also fosters her typically avant-garde blend of country torch, orchestral pop, and plenty of indescribable vignettes that would sound outright flabbergasting from any other artist. For Neko Case however, it’s just another brilliant outing in the studio.
My Top Three Tracks: “Destination”, “Oh, Neglect…”, “Baby I’m Not (A Werewolf)”
36) Ketch Secor- Story the Crow Told Me (Equal Housing)
The first-ever solo album from Ketch Secor is a natural extension of the rustic string-band and roots music revivalist identity that he’s established for the past three decades as the frontman of Old Crow Medicine Show. Story the Crow Told Me is a rapturous roots bastion of bluegrass, folk, and country that is very much loyal to the musical tapestry most associated with Secor. But what makes it a far more than another OCMS outing merely credited in Secor’s name is the kind of discernible individuality and POV that should set it apart from the band’s catalog. Already established as a captivating storyteller, the songs here offer a sharper, more personal bent in the lyrics and vocal performances, and the sonics explore a convicted diversity that wouldn’t feel natural in his band’s setting. It’s a tasty and natural extension that remains tried and true to the musical fabric that we’ve always adored Secor for, while also introducing us to a more defined identity and talent that has always been worthy of its own time in the spotlight.
My Top Three Tracks: “Busker’s Spell”, “Dickerson Road”, “What Nashville Was” featuring Molly Tuttle
35) Willie Nelson- Oh What A Beautiful World (Legacy)
There was no spoiler alert necessary for this release; the pairing of Willie Nelson’s voice and Rodney Crowell’s pen is a combination that will always equate to magic, and so it does throughout this most beautiful of albums. Long-time producer Buddy Cannon showers Nelson’s inimitable vocals in a warm, full-bodied country-rock bedrock that’s both perfectly emblematic of Crowell’s own core sound, and also a welcome detour for Willie’s own latter-day sound. There’s also still plenty of the raw and classic gut-string Willie sound, but it’s superbly balanced with the more electric guitar-driven arrangements, depending on what hte song calls for. This blend gives the album a seamless intersection of the Nelson & Crowell cornerstones that are equally beloved by music lovers. Combine that with a chef’s kiss song selection that recognizes the significant depth of Rodney’s canon that extends beyond the obvious standards, and it results in one of the most moving of the Red Headed Stranger’s excellent series of tribute records.
My Top Three Tracks: “What Kind of Love”, “Making Memories of Us”, “Open Season on My Heart”
34) Franz Ferdinand- The Human Fear (Domino)
An intense and intoxicating return from a veteran rock group that helped define the rabid, limitless atmosphere of indie-rock in the first half of the 2000s. The Human Fear not only announces to audiences that Alex Kapranos and his squad (despite several line-up changes) are still as commandingly great as they were two decades ago. It also should serve as a sterling realization as to how under-appreciated they truly were as pivotal noisemakers in that era. As with every other album in their canon, Fear has an insatiably fetching New-Wave spirit and vision that feels both fresh and formative for the present moment, as well as eternally tethered to the very best rock game-changers of the 70s and 80s. This is easily the best rock record you didn’t hear in 2025. Now is the time to correct that, by enjoying each and every ravenous highlight that it has to offer.
My Top Three Tracks: “Audacious”, “Hooked”, “Night or Day”
33) Rodney Crowell- Airline Highway (New West)
Throughout Airline Highway, Rodney Crowell provides continual evidence that his pen is as incomparable as ever, still possessing the magical ability to tap into the deepest wells of the human experience. Meanwhile, the charismatic purity and strength of his physical voice remains impressively untouched by his now seventy-five years of age. This combination once again enables him to musically paint the kind of palpable and fabled settings, soundscapes, and storylines that have always been quintessentially his. The new addition of The Shakedown’s Tyler Bryant in both the co-producer’s chair and lead-guitarist position proves to be a natural fit for Crowell’s signature tapestry, but it also invokes a perfectly subtle shade of fresh zeal and modern rock energy. Meanwhile, a wealth of guest appearances by the likes of Lukas Nelson, Ashley McBryde, Larkin Poe, and Charlie Starr all dutifully provide their own unique color and influence on the proceedings.
My Top Three Tracks: “Rainy Days in California” featuring Lukas Nelson, “Taking Flight” featuring Ashley McBryde, “Maybe Somewhere Down the Road”
32) Florence + the Machine- Everybody Scream (Polydor)
Primarily exploring a period of intense physical and emotional pain for frontwoman Florence Welch, Everybody Scream is squarely in spirit with the bewitching, haunted mystery of Florence + the Machine’s overall catalog. As is band tradition, the record is magnetically anchored by the primal vocal power of Welch, who wrote and recorded the project in the wake of a devastating miscarriage suffered while on tour in 2023. Already an intensely ruminant woman and artist, this loss unlocked new emotional depths on the subjects of motherhood, the personal sacrifices that define her career choice, and the seasons of life. The artistic bravery it takes to excavate all of this experience in such raw and public fashion permeates this entire album, resulting in not only another other-worldly highlight in the group’s canon, but arguably the most personally powerful and emotive singing of Welch’s career to date, which is certainly no small feat.
My Top Three Tracks: “Everybody Scream”, “Witch Dance”, “Drink Deep”
31) Charley Crockett- Dollar A Day (Island)
Easily this generation’s most prolific young artist, Dollar A Day marked Charley Crockett’s second album in 2025, and his fifteenth overall since debuting just a decade ago. Reuniting with Shooter Jennings in the producer’s chair, it’s also the second entry in a purported trilogy by the pair steeped in a 70s inspired fusion of country music and well of other classic influences. And Lord, what a mighty fine fusion it is. Traditional and Outlaw country remain the ultimate bedrock of Crockett’s sound, but as always, he infuses it with thick slabs of R&B, rock & roll, and straight-up soul, resulting in a style that is simply timeless more than retro. His booming twang once again strikes that tremendous multi-genre sweet spot, while Shooter’s production reciprocates with an equally generous sonic blend that also adventurously traverses through honky tonk, Outlaw fare, Spaghetti Westerns, spooky psychedelics, country tearjerkers, and unhinged Southern funk. Meanwhile, Crockett’s smooth stylings recall everyone from Waylon and Kristofferson to the Allmans and Jimmy Buffett. These tracks could have easily raised hell on 70s airwaves, and deserve to be a staple on any 2020s playlist. Another superb Crockett record, another delicious feast across the wide spectrum of American roots music.
My Top Three Tracks: “Crucified Son”, “El Paso to Denver”, “Die with My Dreams On”
30) Benson Boone- American Heart (Warner)
American Heart is a flashy and deliriously infectious set aimed squarely at those sweet spot qualities that transform a track into a pop smash in the viral climate of 2020s pop. Inescapable singles like “Sorry I’m Here For Someone Else” and the “Physical”-interpolating”Mystical Magical” pour both the dance-worthy synths and Benson Boone’s endlessly fetching charm on strong. And, while they may admittedly dumb down the mature songwriting chops that Boone displayed more heavily on Rollerblades, it hardly matters when the overall package of a track is this deliciously candy-coated. Meanwhile, the fitting album finale, “Young American Heart” adds a more rock-oriented bite to the proceedings, with Boone showing his affinity for both Born in the USA-era Springsteen and peak-form Killers, resulting in a track that closes the project on a high-note combination of pop ear-candy, rock swagger, and the exhilarating musical drama that is clearly Benson’s bread and butter. Another irresistible outing from one of the key young voices to watch in the months and year’s ahead.
29) Tami Neilson- Neon Cowgirl (Outside)
The stylistic range of both the musical vision and the physical voice of underground country dazzler, Tami Neilson continues to entrance on Neon Cowgirl. Her magical ability to seamlessly cascade between devastating torch-country, ball-busting modern honky-tonk, and slithering country-rock remains a rare and inimitable gift exclusive to her amongst this current generation’s crop of artists. However, it’s also her spell-binding ability to conjure up memories of a musical giant from the past that remains among her music’s most magical qualities, and it’s arguably showcased more prominently on this set than on any others preceding it in her catalog. Six decades have passed since her death, however you’d be forgiven for thinking that opening cut “Foolish Heart” was the resurrection of Patsy Cline herself. It, along with the other near-dozen performances gathered, reaffirms her voice’s reputation as one of the most seismically powerful vessels in all of music, but also one that remains as firmly committed to pushing music into the future as it is to reverently remembering the past.
My Top Three Tracks: “Foolish Heart”, “You’re Gonna Fall” featuring JD McPherson, “Loneliness of Love”
28) Turnstile- Never Enough (Roadrunner)
On their fourth album, Turnstile refuses to ease up on the gas-pedal in terms of expansive, eye-popping evolution. Yet, it somehow manages to stay faithfully in tune with the signature indie-spirit that their level of mainstream acclaim and fanbase would prompt other bands to more or less abandon. Never Enough strikes a rare and impressive dichotomy in its ability to feel like both a big box-office attraction tailor-made for mass success, as well as a battle-cry for a closely-knit cult following. Over its fourteen tracks, lead singer and album producer Brendan Yates and his bandmates traverse across a hypnotic sea of stylistic diversity and experimentation that can enthrall you with a cacophony of heavy metal one moment, and then trip you out the next with lush waves of synth and psychedelia.
My Top Three Tracks: “I Care”, “Dreaming”, “Look Out For Me”
27) Lukas Nelson- American Romance (Sony)
The initial solo recording by second generation star Lukas Nelson arrives with the imposing and unavoidable shadow of his great father always looming above. Of course, hiring Shooter Jennings as the record’s producer may seem to further heighten those generational pressures, but name a better pair to relate with one another on these matters, or to equally understand the kind of special collaborative camaraderie exemplified by their fathers’ friendship. With that said, American Romance quickly makes it clear that it is not a revival of Wanted! or Waylon & Willie, but rather its own singular and modern statement on the basics of love. Willie’s presence and influence is indeed always present, in Lukas’ songwriting, his soulfully high-lonesome twang, and his ability to seamlessly color in and outside the traditional country fringes. But this is the showcase of a fully-bloomed artist who has mastered the art of balancing his influences with his own unique voice, which proves to be a sterling narrator for the dizzying phases of a classic love story. This is a modern country-rock marvel that does its sterling lineages proud.
My Top Three Tracks: “Ain’t Done”, “Born Runnin’ Outta Time”, “American Romance”
26) Carter Faith- Cherry Valley (MCA)
One of the year’s very best debut efforts, Cherry Valley emerges as a sparkling little gem that unveils a charming character and richly reverent musical vision that immediately sets Carter Faith apart from her aspiring peers, country music and otherwise. Her sweet, buttermilk twang sounds utterly delicious amidst a varied production palette. It strikes a perfect balance between polished and organic, while spanning a rootsy spectrum of styles, from steel-drenched torch and modernized cocktail country, to fresh slices of blistering, pub-flavored honky-tonk. Through it all, Faith immediately asserts her own individuality as a songwriter, singer, and all-around artist. Her lyrics bite more fiercely than her sweet tone initially suggests. The musical tapestries prove more surprising than the record’s initially plucky aesthetic hints at. And on a pure vocal stunner like “Six String”, she demonstrates a magically hair-raising range that her ultra-charming demeanor holds close to its vest.
My Top Three Tracks: “Grudge”, “Six String”, “Misery Loves Company”
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The 706 